Canon introduced their first servo-driven Cine Zoom Lens with autofocus at NAB 2016. But the new Canon CN-E 18-80mm T4.4 compact servo zoom comes with an odd trait for a cine lens: it has no focusing hard stops. Here is Canon’s response.
No Hard Stops on Canon CN-E 18-80mm T4.4 COMPACT-SERVO
The new 18-80mm is a very welcome lens for documentary style, large sensor shooters. Just like the newly announced Sony 18-110mm lens, it has a lightweight design, super35 (and APS-C) coverage, features autofocus and servo zoom functionality with a price tag of just over $5,000.
We first noticed the missing hard stops when we took the lens for a spin at NAB 2016. The lens has a gear ring for focusing with a follow focus or remote focus, but the lack of hard stops is reminiscent of traditional Canon photo lenses. Video shooters and cinematographers alike will have a more difficult time controlling focus, especially when using focusing tools.
According to the response from Mr Yuya Suzuki we got at IBC this year (see video above), in order to achieve the much applauded Dual Autofocus functionality they had to incorporate soft stops on the lens.
The lens is clearly positioned as a professional tool for (indie) filmmakers and marketed as a cine lens, so the missing hard stops will probably leave some questions open. On the other hand, follow focuses are rarely used by single operator shooters, and this might just be the perfect lens for those looking to equip a Canon C300 Mark II documentary style.
The lack of hard stops might justify the competitive price tag of the Canon CN-E 18-80mm T4.4 lens, but could be a tradeoff that some are not willing to accept.
What do you think about this issue? Dealbreaker, or worth overlooking for the Dual AF functionality?

Thanks to our dedicated followers and amazing crew, September 2016 was a remarkable month for cinema5D, and now that IBC and Photokina 2016 are over, we produced just over 50 videos during the two shows which were watched hundreds of thousands of times in our Vimeo, Youtube and Facebook pages.
The cinema5D crew at IBC 2016 in Amsterdam, just before Photokina 2016 in Cologne the week after. From left to right: Johnnie Behiri, Nino Leitner (sitting), Richard Lackey, Olaf von Voss (sitting), Adam Plowden, Sebastian Wöber (sitting), Eric van Vuuren.
We did our best to be efficient, dedicated and focused in finding the most interesting items at these shows, but we promise to try even harder and be better on future event coverage. It is also an opportunity to thank the loyal and hard-working friends and members of our crew, Olaf Von Voss, Adam Plowden, Fabian Chaundy, Eric Van Vuuren, Kiyoshi Inoue and Danielle Behiri for working almost around the clock in shooting, writing, editing, translating and packaging all those exhibition news posts. They are a great asset to any production, and we are lucky to have them here at cinema5D.
Last but not least, we would like to thank our IBC sponsors (Hedge for Mac, F&V, B&H, Tilta, Blackmagicdesign) and Photokina sponsors (Tilta, Genustech, Manfrotto, Angelbird, Blackmagicdesign) for supporting us in executing such an operation.
Music: http://www.art-list.io/ Title: The Valley Man by Easy People
A huge THANK YOU from Johnnie, Sebastian and Nino.

This premium cage for the Leica SL camera (full review here) caught our attention. Not only is it functional and ergonomic, but also lightweight, machined out of titanium and equipped with a PL mount for cinema applications.
The Lockcircle Full Metal Jacket is designed with cinematographers and “video photographers” in mind. It has a premium price tag of up to $3000 for the PL mount version, but also offers premium functionality, a well though through design and an ultra lightweight body construction. If only all camera accessories were made with this much attention to detail…
We also reported about the new Lockcircle RodRocket 15mm rods just recently. These beautiful, lightweight titanium rods don’t come bundled with the Metal Jacket cage, but are available as an optional add-on. It is clear that this cage and the accessories are boutique products. But so is the Leica SL camera itself.
The Lockcircle Metal Jacket and Full Metal Jacket cages for the Leica SL camera are available now at lockcircle.com

The Canon EOS C700 was announced last month and raised a lot of interest, but also criticism among our readers. The new flagship model for Canon’s Cinema line was on display at IBC 2016 and we took the chance to take a closer look at the new camera.
A Closer Look at the Canon C700
With the C700, Canon moved on to a different form factor for the first time in quite a while. The Canon EOS C700 is reminiscent of competitor cameras such as the Panasonic Varicam, Arri Amira or the Sony F55/F5, and its features and pricing clearly target it at the higher end of filmmaking.
Like with their C300 and C500 line, there will be separate EF and PL versions of the camera. Both are already available for pre-order at retailers:
US:
EF VersionPL Version
Global Shutter Version
EU:
EF VersionPL Version
Global Shutter Version
The Canon EOS C700 camera offers internal 4K recording to CFast 2.0 cards at up to 59.94p in XF-AVC (10-bit 4K) and also in ProRes (even in 4K 10-bit 422HQ, or 2K in ProRes 4444 at 12 bit).
Sampling from a 4.5K sensor and using the optional, specifically-developed Codex CDX-36150 recorder, the Canon EOS C700 provides 120fps 4K RAW recording, which is probably its most mind-blowing feature. 4.5K RAW recording at up to 100fps is said to be coming at a later stage via a firmware upgrade.
To read the full set of features check out this extensive article: LINK

Following the success of the CAME-TV Single and Optimus, this new handheld gimbal by Tilta builds on the one-handed design for medium weight cameras like the Sony a7s II or Panasonic GH4.
Designed for single operation, the new Tilta Gravity G1 has the typical modes of operation “follow” and “lock”, with the latter named “chicken head mode”. With the new 360° motors incorporated in this handheld gimbal, the Gravity G1 has no end points and can rotate indefinitely.
Comparable gimbals currently on the market include the CAME-TV Optimus and ikan Beholder EC1.
The Tilta Gravity G1 will be $900 and should become available in the next months. It is only available for pre-order at CVP Europe right now.

The Sennheiser MKE-440 is an on-camera microphone that features dual-stereo capsules for greater sound capture.
Sound is as important as the visuals when it comes to video content creation, and for interviews or atmosphere the Sennheiser MKE-440 allows you to capture a much wider stereo field by including two mic capsules in the left and right mic housing.
For shooting scenarios like two person interviews, or capturing the ambient sound of a location, the polar pattern and microphone coverage is wide enough to hear much of the surrounding sound, but cancels out sound from behind the microphone (from the camera operator for example). The capsules are shock mounted independently in the metal casing to remove unwanted movement noise, rather than the entire microphone on the camera hot shoe.
The 3.5mm TRS jack cable has been relocated to the front of the microphone to avoid it coming across the camera screen or viewfinder while filming. It runs on 2xAAA batteries with an impressive battery life of 100 hours.
Specifications of the Sennheiser MKE-440 at a glance:
50Hz to 20KHz frequency response.
Stereo supercardioid microphone capsules.
Runs on 2xAAA batteries for 100 hours of operation.
Low cut filter and 3-level sensitivity switch.
The Sennheiser MKE-440 is available to purchase now from CVP from €294.33, and from B&H from $349.95.

Zacuto just has introduced a new baseplate, called the VCT Pro, which replaces their existing universal baseplate. They’ve managed to reduce the weight even more and have added some interesting features also.
Zacuto VCT Pro Baseplate
Let’s start with a quote here. With the introduction of their universal VCT basplate a few years ago, Steve Weiss claimed:
This will be the last baseplate you’ll ever need.
Well, here we are at IBC 2016 with a new baseplate, probably the last one you’ll ever need! There are some nice upgrades, though, so let’s have a close look.
new Zacuto VCT Pro baseplate with the top plate in red
Features of the VCT Pro
Zacuto have managed to reduce the weight of this baseplate by getting rid of every ounce possible. The soft gel pad is still in place, it just has been moved a little bit to one side in order to achieve perfect balance of the whole rig. The real improvement is the now detachable top plate which can be slid back and forth for about 12″. The idea is to get one of these top plates for every camera you’ll be using on a given shoot. With these attached you can be really at lightning speed when it come to switch camera from tripod to shoulder operation.
The one feature that made the original universal VCT baseplate special, namely the expanded space on the rods for mounting things like follow focuses and other things is still in place, as well. And they’ve added the ability of fastening and unfastening both, the rods in the front and the ones in the back with just one thumb screw respectively. No more screw-in rods in the back, which is a nice upgrade, I think.
the gel pad of the VCT Pro
So in the end this is really an evolution rather a revolution but it’s nice to see that Zacuto is improving and polishing existing products until they are perfect for what they were made for. What do you think? Is this something worth upgrading to?
The price is set to $650.

Cineroid has just announced a new LED panel to their lineup. The FL400S is not only flexible but also waterproof, bi-color and dimmable as well. Plus, you can fold it in your bag, so it won’t get in the way when you’re on the go.
The Cineroid FL400S LED
Cineroid’s Soongi Jang made some time to show us their latest addition to their LED lineup. The FL400S is quite an interesting LED lighting solution. It’s literally super flexible, as you can roll it up completely while maintaining a very bright output. And in case you might need it, it’s also waterproof. It’s not designed for underwater work, but you can operate the panel itself underwater or in the rain as long as the control box and the power source are kept safe and dry.
flexible and leightweight – the Cineroid FL400S
It’s easy to mount anywhere since it is very lightweight (160 g / 0.35 lbs), has a reasonable size of 250mm x 250mm (10″ x 10″) and, most importantly, it’s equipped with velcro mounts on the back so you can stick it to anything you’ve prepared with some strips of velcro beforehand. Although very compact in size and weight, it’s still very powerful with an output of 2100 lux.
With the attached control box you are able to control the brightness and the color temprature (2700° K – 6500° K range) as well as being able to lock the control box. That way you can prevent yourself from accidentally changing any values.
As an extra option, you can buy a DMX box in order to control the FL400S via an DMX connection.
Specifications, Pricing and Availability
As a recap here are all the specifications of the FL400S LED
seize: 250mm x 250mm (10″ x 10″)
weight of the LED: 160g (0.35 lbs)
weight of the control box: 165g (0.5 lbs)
light output: 2100 lux @ 94 CRI
power consumption: 65W
Everything from the LED panel itself, the control box, a soft box, X-bracket for mounting, an AC power adapter and also a bag are all included out of the box. It’s price is $539 and is available as of now. There’s also a kit of three lights too, which is $1,598.